By Ali Behdad, Dominic Thomas
A spouse to Comparative Literature offers a suite of greater than thirty unique essays from confirmed and rising students, which discover the historical past, present country, and way forward for comparative literature.
• good points over thirty unique essays from prime foreign participants
• offers a serious evaluation of the prestige of literary and cross-cultural inquiry
• Addresses the heritage, present nation, and way forward for comparative literature
• Chapters tackle such themes because the dating among translation and transnationalism, literary concept and rising media, the way forward for nationwide literatures in an period of globalization, gender and cultural formation throughout time, East-West cultural encounters, postcolonial and diaspora reports, and different experimental ways to literature and tradition.
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Additional info for A Companion to Comparative Literature
2006). (Original work published, 1843) Fear and Trembling. ). New York: Penguin. Latour, Bruno. (1993). We Have Never Been Modern. ). Cambridge: Harvard University Press. Melas, Natalie. (2007). All the Difference in the World: Postcoloniality and the Ends of Comparison. Stanford: Stanford University Press. Moretti, Franco. (2000). Conjectures on World Literature. New Left Review, 1, 54–68. Mufti, Aamir. (1998). Auerbach in Istanbul: Edward Said, Secular Criticism, and the Ques- A Discipline of Tolerance tion of Minority Culture.
Gloucester, Massachusetts: Peter Smith. Badiou, Alain. (2003). Saint Paul: The Foundation of Universalism. ). Stanford: Stanford University Press. Bernheimer, Charles, ed. (1995). Comparative Literature in the Age of Multiculturalism. Baltimore: Johns Hopkins University Press. Casanova, Pascale. (2004). The World Republic of Letters. B. ). Cambridge: Harvard University Press. Chow, Rey. (2009). ‘I insist on the Christian dimension’: On Forgiveness and the Outside of the Human. 2/3, 224–249. Damrosch, David.
The humanities are a comparative endeavor since their fundamental stake is that whatever is produced in the name of art, culture, literature, history, or thought has been historically grounded in an answer to the question of what it is like to be human, a question that immediately sets up a conflict about the right of this or that claim to such a title. In short, this is a conflict about the right to define the human subject according to a particular image. And, even if works of art refuse this claim – as is the case with automatic writing or art based solely on the dictates of chance or mechanical production – it has been the task of their political, social, and academic interpretation to re-institute that claim, namely, the significance of the humanities resides in the reflection of the human subject.
A Companion to Comparative Literature by Ali Behdad, Dominic Thomas